Theatre: Samson and Di Liar, the Streetside Opera

Samson and Di Liar is.......

- a hilarious comedy;
- a serious look at urban homelessness from a fresh angle;
- an insightful exploration of social mythology and the (ultimately) race-driven perceptions of class;
- a refreshing mix of physical theatre, "dramedy" and musical

All of the above, really and not a moment too soon does this engaging production arrive in the midst of a local theatre seen which while well executed in the main has been suffering of late from an excess of convention, at least from our vantage point,

Tony "Paleface" Hendriks (l) and Ricky Rowe in "Samson and Di Liar"

Tony Hendriks, self-styled and universally known to Jamaican audiences as Paleface. is Samson, a down-on-his-luck Briton with seriously highbrow aspirations, forced (by circumstances that form part of the play's "big reveal" to take up residence under a bus shed in New Kingston. Some unseen, unruly crackheads force the other titular player (whose given name we later learn) into his squalid existence. There is the initial hostility and resistance typical of such "buddy comedies" (from the film world think Nick Nolte and Eddie Murphy in 48 Hrs") but the two soon become collaborators and even friends, as much as circumstances permit.

And its here that things get tricky. Mostly because Di Liar (the always enjoyable Ricky Rowe), playing true to his nature, helps himself to a most treasured possession amongst Samson's otherwise useless bric-a-brac (and pee buckets) and it is upon this item and the accompanying story, that the core of the play ultimately comes through.

In between and beyond there is some terrific - and terrifically funny - interplay between the two social stragglers, one white (or pale) and one black, each having skills that the other does not ad therefore comes to appreciate. from this writer's position, its the kind of male-male interaction has not really been portrayed on the Jamaican stage, or at last not with such clarity and wit.

Hendriks' character has most of the inherent pathos, and he plays it with gusto but without crossing (at least not too far) into maudlin hand-wringing. Rowe, on the other hand, is almost never seen without that disarming toothy grin, but delivers some telling one-liners about the deep and abiding divisions in the social milieu that has nonetheless brought two seemingly disparate characters together.

Both individually and together, they bring just the right amount of physicality to their roles without it becoming farcical and the music (with Paleface himself pitching in on guitar), weaved nicely into the plot, makes the whole thing go down even more smoothly. The set and technical elements are executed well, although the lighting, even in the brightest situations, seemed just a little underwhelming.

Such things though, will hardly come to the theatregoer expecting a night of solid entertainment, from committed pros. the play opened Friday evening last and deserves to have a long, prosperous run.

Keep the "bus-shed bards" in business    

localjoe.myorganogold.com